From buzzy, bouncy Brits like the Vaccines to delving deep into goblin rock.

This British indie band is no stranger to pop, having thrown themselves into Katy Perry’s “Last Friday Night” last year for the same BBC radio show that brings us their reading of the latest chapter in Taylor Swift’s serial break-up. Two things make this work: First, they never ever allow themselves to lapse into a sneer. Second, it’s not as though their own music is inspired by Philip Glass. Case in point: their current single, “Teenage Icon”), which is almost as bouncy as the Swift kiss-off they’re covering.

The above list comprises less than half the source material in this expansive mash-up, which also features bits of Will Smith’s “Black Suits Comin’ (Nod Ya Head),” P.O.D.’s “Youth of the Nation” and M.I.A.’s “Paper Planes.” Though it’s probably carrying about 20 per cent too much weight, there’s something to be said for hearing hip-hop (“California Love”), reggae (“I Shot the Sheriff”), house music (“Finale” by French producer Madeon) and Canuck rock (“How You Remind Me”) continually collide without killing each other.

Fighting back from both a heart attack and the implosion of his on-again/definitely-off-again band American Music Club, it’s no wonder Eitzel sounds like he’s skating along the edge of despair. The surprising part, though, is that he’s already developed a sardonic take on it all. “I control my arms and my legs and my hands/ And my hair and my face/ Like I’m holding a gun in a videogame.” It may not have the jagged edge of the song of the same name by Detroit’s infamous Destroy All Monsters, but it’s still got attitude to burn. (From Don’t Be a Stranger, out Oct. 2)

Even based on the pathetic fidelity of MP3s, it’s crystal clear that this Welsh band is a band — one that plays together, knows what they’re aiming for, and is determined to get there without resorting to an excess of trickery. There’s an ’80s feel to parts of this, but the fact that a) they’re fans of both The Cure and The Stooges and b) they’ve been picked to open for Bat For Lashes’ European tour should speak volumes. (From Furniture)

The Spice Girls’ tottering-on-cars reunion at the Olympics reminded many of us what a blast of fresh air that act was when it first appeared. The residual goodwill probably makes this Sporty/Baby pairing seem like more than it was intended to be. Penned as a duet between the wife and mistress of a chess champion in the ’80s musical Chess, it feels here like two girlfriends mooning over a shared, non-specific object of affection. Comparison shopping: original (bit.ly/chessone), Broadway cast, la Streisand, and Whitney and Cissy Houston. (From Stages)

It may sound counterintuitive, but by recasting this Lana Del Rey song with non-pop instrumentation — harp, cello and violins — this U.K. singer-songwriter has managed to bleed the original of the affectation that detractors would say Del Rey brings to everything she touches. One thing is beyond dispute: Wolf has a way more powerful set of pipes.

Here’s a trend we’d like to see more of: theme songs for novels. Part of the enhanced iTunes/Kindle versions of Michael Chabon’s new book, this funk-rock simulation by Peter Lerman helps set the mood for sentences such as this one: “As she sauntered past the car, she pulled the tails of her short-sleeved madras shirt from the waist of her jeans, knotting them together under her breasts.” (Note: Click the right-arrow at above link to get to the song.)

To commemorate New Order’s headlining appearance at a new music festival in Wales, this venerable, tuxedo-clad, 60-voice choir was tasked with creating a new arrangement of the metronomic dancefloor classic “Blue Monday.” If you thought the original was stern . . .

The lead single from this eighth post-Moist album exudes some of the same autumnal wistfulness as The Dream Academy’s “Life in a Northern Town,” minus the more dramatic production flourishes. For anyone who, for no particular reason, lost track of Usher’s career years ago, this should be the ideal re-entry point. (From Songs From the Last Day on Earth, out Oct. 2)

One of the dozen British acts to make this year’s Mercury Prize short list, this Cambridge four-piece — whose debut finally lands in Canada on Sept. 18 — would seem to possess the combination of adventurousness and accessibility that does well at non-mainstream award shows. As with Alt-J’s first appearance on this List, this track feels like it could unfold in a couple of different ways. In the beginning, it sounds a bit like Radiohead’s “Fake Plastic Trees.” By the end, it more closely resembles World Music-influenced indie rock. A video incorporating footage from the dialogue-less documentary Powaqqatsi makes the track seem even more atmospheric than it already is. (From An Awesome Wave)

Goblin rock. That’s the genre in which these Santa Barbara-area metal heads specialize. That’s not some deep metaphor, either. They just really like to sing about goblins. And make videos about them, including this one about a white-collar goblin who struggles to wake up on time, find a decent tie, deal with an overstuffed briefcase, and keep his temper in check in the presence of his mocking, more successful nemesis. Of course, him being a goblin and all, this is bound to end in binge drinking and bloody mutilation but, hey, nobody’s perfect.

More on thestar.com

We value respectful and thoughtful discussion. Readers are encouraged to flag comments that fail to meet the standards outlined in our
Community Code of Conduct.
For further information, including our legal guidelines, please see our full website
Terms and Conditions.